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We can see a unique history of the art of paintings in Kerala. In olden days the
people of Kerala had maintained an unequal mastership on the art which is primarily
brought out through the rock carvings. The paintings which belongs to Mesolithic
cient examples in this regard. The first example of mural paintings found in Kerala
paintings the historians hold different opinions. But the period is supposed to be
from upper Paleolithic to early historic period. The surface had not been arranged
before painting during those days. The paintings had been done without any prepa-
ration of surface. The paintings of 8th century A.D. found in Tirunandikara cave
walls are considered as the best paintings. Since Tirunandikara paintings, we see a
wide gap of five centuries as the subsequent paintings are seen taken place after
five centuries. Paintings belonging to 14th and 15th centuries are available subse-
quent to this period. In 17th and 18th centuries the art of paintings reached its
climax. But in 18th century the history of paintings is seen disrupted to a certain
81
extent. In 19th century this art is seen completely disappeared which makes us
assume that the social structure during those days boycotted the artists and they
sought some other jobs for livelihood. Miniature paintings and oil paintings became
popular in those days. The paintings of Rajaravivarma (1848 - 1906) and K.C.S.
Panicker were highly popular. Mineature and oil paintings were the means of earn-
ing money in those days. The mural paintings were done by collective efforts not as
paintings in Kerala. In the half of 20th century Guruvayoor and Aranmula devaswom
opened study centres for the uplift of learning the art of mural paintings. This tradi-
tional art of paintings are now a days taught to the students who have deep inter-
ests in that field on the basis of a study package. The remainings of the mural
partment of Kerala and Archeological Department of India on parallel lines. The said
agencies protect the paintings by adopting various chemical methods and analysis
and other useful methods. For want of proper protection some paintings are com-
pletely ruined. A new generation that deeply loves and understands the signifi-
cance of the art of mural paintings has to come up. The survey conducted by the
82
factors in this regard. In Kerala the survey has been taken place in the following
centres.
5. ThrivikramangalamThamalam 18thC
Kudavechoor Valkom 17
Thaleyoaparambu 17
Elankunnapuzha - Vypen 17
Nayathode, Angamaly 17
Akparamb, Angamaly 16
Mulanthuruthi 13
Udoyamperoor i6
Fort Cochin 18
Peruvanam 18
40 Vadakkumnath temple
86
Thrissur 16-18
Narayanakulangara
Vadakkumuri 17
Vadakkanchery 18
50 biva temple
87
Killikurrissimangalam 17-18
51 Thiruvegapura temple 18
Angadippuram 18
/
53. Siva Temple Kottakkal 18
)
58 Sreekrishna temple
Timhambaram, Taliparambu 17
are beautiful in line sketch. This art was made prosperous and extensive with helps
of various factors. These factors may be political, social, communal, religious etc.
The art developed mainly in peaceful atmosphere under the eminent rulers who
loved various arts including the art of niural paintings. Comparing to costal area
and mountain places excellent paintings are mostly seen in central part. The impact
of bhakti movement is seen behind this progress to a certain extent and even amidst
of the conflicts between local rulers and the foreign invasions. Though in 16th and
17th century we can see a rapid progress in the field of paintings. In the 18th cen-
tury there destines a sudden depression. After the invasion of Tippu Sultan the
major revenue of temples were controlled by British rulers. These resulted in a poor
Due to the unfavourable climatic conditions the paintings were wet and got
ruined. The lack proper maintenance resulted in heavy loss of their beauty and the
paintings on the temple walls thus lost for ever. The loss was also resulted by old
age. We do not know whether the paintings were done using the same method as to
89
which adequate details are propounded by various literary works. Though various
that the same techniques had been put to use at the time of painting. The raw
materials used were often disfigured and discoloured due to okJage. After inde-
pendence, the Central Government and State Government took adequate meas-
ures for the protection of the painting. For encouraging the art of painting in Aaranmula
The legendaries of Ramayana and Mahabharata are mostly seen painted on the
walls of temples and palaces. The theme of paintings seen on the walls of churches
centres round the stories of Bible. The lifestyle as well as art activities of the people
of Kerala had been tremendously influenced by epic stories like Ramayana and
Mahabharata. The theme of the paintings included the characters of these stories.
In Kerala cast system and untouchbility had been in previlence. Even then the
influence of Hindu thoughts were highly extensive. Regardless culture and educa-
tion the low class people as well as high class people had choosen different stories
in accordance with their standards and paintings were done basing on this stand-
90
ards. In the devotional songs different kinds of adornments and ornaments are
narrated. The thoughts of all artists were more or less the same. Religions were
made friendly for the subsistence art and literature. Places attached to temples
were choosen for art exhibition^ The walls of temples were choosen for mural
paintings. Many of them had been ruined. Some of them are still kept in tact. In
Kerala different kinds of focal and imaginary stories had been spre^dedTsome of
them relates to the Kirata story of >6iva, Arjuna, The Story of Bhima. Hidimba etc.
The mural paintings are the exposition of some fabricated stories ot rural
legendaries. Imaginary goddess and asuras were incarnated through murai paint-
ings. Among these paintings the birth of Rama, Bheema, Hanuman Siva in the form
of Kirata, The Jealousy of Ganga and Uma etc. The art forms existed in temples got
enormously developed. From 10th century B.C. the art of mural paintings origi-
nated in Kerala and reached its zenith in the 16th and 17th centuries. The art of
painting and the art of culture got developed paraH^. They were dramatical. The
expand eyes due to heroism, love and hatred were the usual expressions which
1. Stella Kramsisch. The Arts of Kerala Kshatram, Paico Publishing House, Madras 1970. P.48
91
had been conveyed to us through paintings. These paintings had claimed a uni-
formity in all part of India irrespective of certain variations due to local touch and
influence. In Kerala they were unique with certain modifications Bhima and Hanuman
Parvati become jealous where the Mohini incarnation of Vishnu joined with Siva.
The same jealousy occurred in Uma when she found Siva carrying Ganga on his
head. Parasurama created terror towards Srirama. Siva who rendered Arjuna to
Narasimham are the main incidents of paintings. The wall surfaces of temple are
Most of the legendary characters had worn crown ornaments bangles etc.
like the characters seen in Kathakali. But the expressions P^e^TKajKi, "fedf^e not
seen given to these characters. This is the notable difference seen in Kathakali and
ment about 60 characters are found out in Kerala. Many of them are highly attrac-
tive. Some characters are seen repainted and some others are blurred. Basing on
the themes the mural paintings of Kerala can be classified into 4 categories'.
1. Kapila Vatsyayan - The Arts of Kerala Kshetram. Published by Sriramavarma Govt. Sanskrit
College Committee, Tripunithura 1989 P. 17
92
)
2. Siva, Vishnu in the form of Mohini, Parvathy who stares ai oiva anu oanya
4. Dancing Siva
Vadakkumnatha temple at north. Though there are certain changes the substories
of Mahabharatha are seen painted. The paintings of characters centre round on the
stories of Bible. When we take into account Indian Mural painting, we can assign a
Tamilnadu belongs to 9th century. The history of mural paintings in Kerala starts
from this stage. The reason is that Kanyakumari was a part of old Travancore.
classified into three stages. In the first stage the paintings of Tirunandikara, Kantalur,
palli.Thiruvalla churth, Kottam cheriya churth, Chepadu churth and Ankamaly churth
ered.
to the age of Ajantan paintings all the Indian mural paintings are conveyed through
line sketch. The thick line represents hearness. Thin lines distance, flowing lines
inseparability. The traditional floor drawings and Kathakali vyere under the grip of
mural paintings. The geographical features of Kerala is also portraited through dif-
paintings. Tlie creations of mural paintings were witli i tlie confinement of devotional
songs and science of idols. The colours were immersed in outlines. They were
rythematic and unequal. The artist adopted the traditional methods regardless re-
muneration for their work which were really in pursuit of goddiness as a result the
artist did not assign any significants on their personality or their individuality. The
as to the persons who worked behind these beautiful creation. They didn't claim
any recognition either for their personality or for their creativity. They were actually
concerned we can note some region wise differences. The creators made the crea-
tions basing on the ideas and ideologies they confronted directly or indirectly in their
palace are long faced and of stoutly built bodies but the ladies of Mattanchery pal-
ace are with round breasts and fleshy bodies. The former belonged to Sankini type
The practical approach towards painting was somewhat difference then what
has been described in the literary works. Most of the paintings are seen on the
95
arranged walls except those are seen in the cave walls. The surface of the walls
was initially made rough and the same was again arranged before painting. Differ-
ent kinds of gum was used to make the surface more impact. The saps of some
plants were used to niake gum. Lemon juice and coconut water were used to elimi-
nate the concentration of the paints. The paints so prepared were kept in wooden
pots and used according to the need. The brush used for painting was also made
according to need of different kinds of paintings. The paints and brush were ar-
ranged before the painting being done. The bamboo stick which was made sharp
and long grass roots of some plants were also used to make brush. The outline was
drawn using yellow paint with the brush made off bamboo sticks. And these out-
lines were made hard using red paints. The grass brush was used to brush the
paints on the surface. The roots of some plants were also used in this connection.
After the painting is over, the sap of pine tree mixed with one fourth oil and filtering
the same with the help of a piece of cloth, the hardness of the painting is assured.
The mural paintings in Kerala is mostly seen painted with the colours orange,
green, red, white, blue, black, green blue, yellow, golden yellow etc. The minerals
excavated from the earth, the sap of plants and vegetables, the powder of stone
96
etc. were used to mix these colours. Blue colour is produced from Nilamari plant.
Green colour Is also mixed with different colours. Black colour is produced from oil
the walls. The chemical action of calcium was remarkable understood during those
days. The lime juice was used to eliminate the concentration of Calcium. In Kerala
the calcium walls were prominently considered an important factor for the construc-
tion of walls. Therefore the chemical qualities of this factor was given high regards.
While illustrating the epic characters, suitable colours were given considering
the peculiarity of each character. The colours were symbolic and qualitatively Satvika,
Rajasa and Thamasa. It is to be believed that the art might have adopted traditional
beliefs in regard to the art of paintings. A sum total of all these factors are seen
externalised on the mural paintings. The art having been traditionally handed over
to the subsequent generation, high regards were given to this art without any adul-
teration.
Green colour was given to the Satvika gods and red colour to Rajusa gods.
For Tamasa gods white colour was given according to Vaisnava thoughts and black
were given either green or green blue colour. Ganapathi, Narasimha, Varahamurti
etc. are considered as Rajoguna gods. Parvathy, Visnumaya are considered as the
goddesses which were painted in golden colour. White colour for dancing Siva,
Daksinamurti etc. Golden colour for the God of Kailasam. The colour of Bhadrakali
was the colour of clouds. Crimson colour to Brahma and Saraswati. White colour
to Balasaraswathi. Yellow robes for Srikrishna. Blue robes for Sastha. The robes
of Siva was in blue colour. The prominent colour which is seen Kerala mural paint-
hasyam in white colour, anger in red colour, terror in KrisVinavarna, wonder in yellow
colour etc. Each colour thus conveys to us the expression of each passion .
The pictures of Sasta well acquinted in Tamil nadu are ordinarily seen in Kerala
temples. Most of the pictures are seen as hunting, sitting on the horseback etc.
The pictures of Sastha sitting on the elephant are not rare. The concept of
Suryariarayana instead of the God Sun is also seen painted. Significance is given
PSrvati in Kailasa with Siva are plenty in number. On the northern side of the inner
1. Vedambandu - Rasabharati, Kerala Sahitya Academy Thrissur 1985 Ch. 6 35, 36.
98
shrine, the picture of Siva in the form of Dal<sinamurthi is seen painted. On the
southern sides of inner shrine different l<inds of pictures are painted. The God
Bairava are different forms of Siva which are made subject to the theme of paint-
ings. So also the stories of Dasaradha and the object of each incarnation of Visnu
are exhibited in Vaisnava paintings. The pictures of Sri Padmanabha are differently
play of Krisna the incidence of Ramayana from birth to coronation are among the
paintings. From the above it is to be assumed that Uthararamayana has been aban-
Govardana Mountain, stealing of the robes of Gopa ladies are painted. In many
pictures Srikrishna who is reading flute standing among the gopa ladies can be
seen. The slain of Mahisa.the demon, the picture of Durga, Bhadrakali etc. are
christian churches too, large number of paintings are seen and all the sto-
ries are related to Bible. Eve, who is eating the forbidden fruit under the instigation
99
of Satan, the birth of Christ, the wonder of Christ, his tortures, crusification, resur-
I.Tirunandikara Paintings^
The ancient mural paintings of Kerala is found out in the cave walls of Tirunandikara
temple. Inside of the cave a large chamber of is seen abound in many paintings.
But today we can see only a few outlines of such paintings. This outlines, however,
convey to us the excellence in ancient paintings. The paintings of Siva and Parvati
are beautifully done. These paintings are supposed to be done in 9th century A.D.
Even in the absence of colours the true shapes of the characters are excellently
painted.
2. Ettumanur Paintings'
temple the picture of dancing Siva is significantly painted. The picture is 3.60 me-
tres length and 2.17 metres height. The paintings denote the BrahmanandaTandava
(violent dance) of Siva on the Asura Mulayaka. A group dance as to which mention
is made in NatyasSstra is also seen painted liere. The spectators of dancing Siva,
Gods and Goddesses and other dancing figures are painted. The paintings include
the picture of Saraswati, Devendra, Visnu, Brahma, Laksmidevi etc. The attractive
picture is of PSl-vati who is holding lotus flowers in her hands. Nandi who is viewing
the dance of Siva is actually appreciating the dance with a devotional ecstasy. On
the top of the paintings Sanaka, Sanandana and Sanathkumara are painted. In the
middle of the picture Ganapati is painted sitting on the mouse. Subrahmanya whose
the vehicle is the peacock has taken place on the left side of Siva. Bhadrakali
Though the idols of Natyaraga are rare in Kerala the paintings and sculptures
The colour of the body of Siva is the moon white. In the inner part of the
and 80 cm length and two meter and 47 cm. height. On the foot of Mahavisnu,
Bhumidevi and on the head, Lakshmidevi are seated. Garuda is seen worshipping
Visnu.
large fish is also painted which swallows a tiny fish. Mahavishnu is painted with
thilak of Valsnava type, sacred thread, necklece of hearts hanging on the chest,
renovations. The paintings on either side of Nataraja is in a terrible way. From fear
to wonder and wonder to heroism is the method adopted for paintings. The
Aghoramurti has eight hands in each of which different weapons are held.
Among the God and Goddesses who are viewing Anantasayanam and
>
Natarajanrtam, the picture of Siva is peculiarity painted. Sasta who is hunting sitting
Dwarapalakas is 1.50 metres length and 1.20 metres height. These pictures are
seen painted on the outer wall of the tower. The picture of Balakrisna who is stealing
the robes of Gopa ladies and the picture of hunting Sasta, Gopikas who are stand-
ing in water and begging for their clothes etc. are among the paintings.
The wild animals are portraited through the picture of hunting Sastha painted in
many of the temple walls. A man who is ready to shoot with a gun is also painted.
102
The gun indicates the guns used by Portuguese and Dutches. On the upper portion
a forest, in the middle portion Sastha sitting on the horseback, and in the bottom
portion hunting with help of followers are the sequence in which the picture of the
paintings are seen arranged. The Dwarapalakas painted on the walls have close
resemblance with that of seen moulded with bricks on either side of the walls.
The structural beauty of the female Goddesses like Parvati, Laksmi, Saraswati,
Bumidevi etc. indicates the Kerala femates, their beautiful body structure and their
deep influence in the minds of the artists who created the paintings. Not only the
body structure but also various expression on their face too have influenced the
artists enormously. But in their clothing the Kerala style is somewhat absent. But
the earring called as Thakka and the neck chain indicate the Kerala style. While
painting the pictures of Gods, the artists were keenly cautious not to assign Kerala
Style to the Gods. All these pictures represent 16th century. Hasty attempts for the
renovation of the paintings have often created some problems against their original-
ity.
103
Padmanabhaswami. Many of the paintings are seen in the inner chambers of the
poses or such other purposes. On the westem wall, the paintings of Anantasayanam
is seen. On the foot the picture of Laksmidevi and on the head the picture of BudevI
are seen painted. The saints and the sages, sun and moon etc. praise
has two hands instead of four hands unlike other paintings. In the eastern walls
another picture of Ananthasayanam with the same beauty seen painted. The other
painted in white colour and this gopika is supposed to be the eternal heroine Radha.
With the presence of Srikrisna the Gopikas are seen painted in ecstatic mood.
Hearing the sweet music from the flute of Srikrisna the Gopikas become overjoyed
by emotions and their views unify in distant point in the eternity. The expertedness
palace. One of the above artists has given due significance to drawings and col-
ours alike thereby exposing his mastership on the art. The second artist can not be
treated as so adept like the first artist and the third artist may be an Iranian artist.
The picture of Eakadasa Rudhra (elevan rudras) is painted on the northern wall.
back who is hunting, Visnu worshipped by Sridevi and Bhudevi, Visnu sitting on
Garuda are the other forms of pictures which are seen painted on the walls. All
these pictures might have been painted by excellent artists who lived in those days.
On the other hand the picture of dancing Siva, Bairava, Parthasarathi, Krishna,
Girijakalyanam etc. seen on the northern wall may be accredited by the artists who
stand second among the artists. The other paintings like the paintings of Muruka,
Padmanabhapuram has taken place after third January 1750, the date of first
Tripaditanam.The impact of this paintings can also be seen in the mural paintings of
Tiruvattar temples.
105
ornaments, robes of dancers etc. are also brought to us through these paintings.
The codifications and unification of Saiva and Vaishnava thoughts, their importance
among the social and meditational set up, their cordiality etc. can be very well un-
derstood with the help of these paintings. One of the artists who painted the picture
be the disciple of Kaikkotta Namboothiri who was supposedly the main artist of
Padmanabhapuram.
The picture of Parvati at Vaikkam Temple must have been painted subsequent to the
palace are equally excellent along with the paintings of Parvati. Besides we can
see the paintings of Rama and Laksamana here. All these paintings are supposed
1. K.P.P. Tampy - The Udyanapuram Mural Painting Travancore Information and Listener,
August 1947.
2. K.P.P. Tampy - Vaikam and Its Famour Temple Travancore Information and Listener,
January 1945.
106
The paintings of hunting Sastha and the worship of Ganesa are beautifully done
The palace is situated in jew street at Mattancery which is adjacent to Cochin. Arch
windows and doors seen here indicates the European way of construction and the
restricted use of woods in those days. The influence of European countries is pro-
claimed by way of this constructions. But the three temples which are situated on
either side of the compound and in the central part and the pond on the western side
represent the Kerala Style. The mural paintings of Mattancery was destroyed by
Portugees invaders when they robbed the temples. The ruler of this palace who
got angry with the unprecedented attack made by the Portugees, was made pleased
by them by way of constructing a palace and contributing to the said ruler^. The
painting of various pictures. Nearly 300 sq. ft. area is covered a painted picture
which depicts the whole Ramayana story commencing from the ritual made by
Dasarada to the coming back of the triumphant Rama from Lanka after killing Ravana.
The western chamber which was situated near the chamber for coronation was
used by the rulers to sleep at night. In the walls of all these chambers a number of
pictures are seen painted. In the lower middle portion of the walls, textile designs
are seen painted in a simple way and in the upper middle portion the epic stories are
The incarnation of Mahavisnu is seen painted here. The first picture painted on the
to obtain a son). The ritual is conducted by Rsyasringa. In the next painting god
Agni (fire God) who carried rice boiled in milk is seen painted. In another picture the
King who was so pleased in getting payasam from God Agni is seen. Golden colour
is seen given to Kaikeyi among the wives of Dasarada. This denotes Dasarada's
special love and affection towards Kaikeyi according to the justification of the art-
ists. The next picture shows the delivery of the wives of Dasarada without any
screening.
Another beautiful painting gives us the picture of Tatal<a and sending of Rama,
Laksamana along with Viswamitra in pursuit of the sacrifice. Breaking of the bow
and marrying Sita by Srirama are painted in another picture. The obstruction to
coronation, the conflict of Rama and Parasurama, journey in the boat of Guha, Cross-
ing of the river Ganga are seen in the paintings. The slain of Viradg^he passions of
and taking vow killing of Bali etc. are seen beaitifully painted. While killing Viradha,
ency on the face of Sita. The shedding of blood from the body of Surpariakha is
seen painted'. The jumping of Hanuman to Lanka, the obstruction created by Surasa,
Simhika, Lankalaksmi etc to the joumey of Hanuman to Lanka, the fight of Ranlayana,
the slain of Ravana, the fire sacredness of Sita, welcoming of Rama, Sita and
m
Laksamana by the people of Ayodhaya etc are among the paintings. The northern
is found without any painting. The picture of lamenting Srirama due to the loss of
Sit^ is beautifully painted on the western wall. The vanaras who are looking at
Rama who attempt to lauch arrow are also painted. Hanuman who gets escaped
through the ear of Surasa, sleeping Kumbakarna are among the paintings. Srirama
turous character and a devotee of Srirama. The peculiarity of each painting assigns
great significance to each of them. Over crowded paintings eliminate their signifi-
cance and beauty to a certain extent. Some of them are, therefore left unnoticed.
In the second stage of Mattancery paintings we can see six paintings from the
stair room to the chamber for coronation, the fleshy characters are seen beautifully
painted. These paintings convey an irresistible tender feelings in the minds of the
viewers.
>
Thiruvanchikulam Siva temple paintings
Five pictures are seen painted here in an area of 105 sq. ft. One is Mahabharatha
fight and the other is the incidence of Ramayana. Dancing of Siva, Parvathy, Srikrisna
Here the dance of Lord Nataraja, hunter Ganapati, Durga etc. are the items of paint-
ings.
110
t
Pallimanna Siva temple paintings
Saiva and Vaisnava paintings are seen here\ The picture of Goddess Mohini
playing with a ball, Kiratha Siva, Arjuna; Dhaksinamurthy, Krisnalila etc. are seen
painted here. The characters have some similarity with the Tamil Characters. The
Saiva paintings are done by one Gopalan who was an inhabitant of Kollam and
ple are done by one Krishnan, a disciple of Narayana in the year 1731. This is
brought to us from a script received from here. The paintings mainly include
The paintings here are supposed to be made in the second half of 17th century. The
1. Kapila Vatsyayan - The Arts of Kerala Kshetram, Publishd by Ramavarma Govt. Sanskrit
College Committee, Tripunithura 1989 P.20
111
The legendary stories taken from Ramayana and Mahabharatha are seen
painted here. All these paintings are supposed to have been made during the period
All the paintings here are believed to be taken place in the second half of 16th
century and in the half first half of 17th century. The paintings include the picture of
Ganapati, Siva, Parvati, Subrahmanya etc. The peculiarity of the paintings seen
here is the pictures of Namboodiris who lead the high class social life. Their culture
Four mural paintings having 63 inches length and 50 inches breadth are seen painted
A clear distinction as to the old paintings and the new paintings can not be ascer-
tained from the blurred paintings and the new paintings. They may belong to 16th or
17th century. Here 8 large pictures and more than 20 tiny pictures have been painted.
Siva and Parvathy was sitting under a coconut tree and Durga was attempting to kill
KottakkaiTemple Paintings
brought to us. The paintings include thefamily of Siva and Visnu. The name of the
painter is available from the script here according to which Sankaran Nair and his
here. A goldsmith who is sitting near his wife is smoking. This is an interesting
were drawn by ancient people on the cave walls, interior places of the dwelling
houses. Later due to the transitional phase of time some changes took place in the
art of portrait. The portraits included the acquainted figure of different animals and
such other objects. The portraits which are found out in certain places near Mirzapur
in 1880 are supposed to be the ancient portrait based on some available evidences
to that effect. In different parts of India mainly on four centres there were a large
number of caves which where suitable for human Inhabitants. The first rock paint-
ing was found out from Admagarh Quarry Shelter near Hoshanagabad . Such
paintings were available from 50 different centres which were inhabited by our an-
cestors. These places are located around Pochamadhri known as Mahadev Hills.
The figures of Singanpur and Kabrapahar were found out from Madhaya Pradesh.
Such examples have been found out from the river banks of Likhunia, Khobar,
Mahrara, Bijayagarh and Bhaldaria in Uttarpradesh and also from Suavely in Mirsapur
and Mankipur in Bonda District. Flat shining stones where ordinarily seen in The
Vindhya mountains. These stones and the redoxide of pigment washaematite where
115
used to mix paints. The paintings included tilings which wer6 projected in ordinary
life. A picture received from Likhunia indicates a man who is hunting a wild elephant
sitting on a horse back and also another man latching a large bird. In Mahararia
Shelter a wounded wild pig scene painted. In another painting scene in Singanpur
a huge animal is attacked by a number of people using a large rail and sticks. The
use of bows and arrows, Sword and shield are incarnated in another picture which
standing on its legs reading a Clarelet. This portrait indicates some jokes and a
man who looks at the monkey lying on his coat and makes gestures in accordance
From the old remains excavated from Mohanjadaro and Harappa a civilized
society had evidently existed in thoSe places in ancient time. The art and literature
were progressive among those civilized societies. We have got some proof at hav-
ing existed the art of dancing, art of sculpture, portraits, music and the music with
the help of various musical instruments. The existence of the above arts is evi-
dently obvious from various portraits available from these parts. The creativity
consists of familiar objects in all ages. The pictures of elephants, bullocks etc are
116
seen engraved on some objects and tWs engravings are seen done with unique
master ship. The cotton clothes were adored using different colours of paints which
ANCIENT PAINTINGS
In ancient Greece the portrait was supposed to be taken place with the emer-
gence of ceramic art. Though the proof of frescoes was destroyed we can see that
fighting, hunting etc had been represented by those portraits. Those portraits had
been engraved in tiny scales on mud pots. The pots received from Indus valley are
seen painted with such tiny pictures. Using wheels the mud pots of red in black
colour were painted with pictures and there picture were not only symbolic but also
agreeable with natural percepts and also adorned in geometrical way. Among those
portraits significance was assigned to those which are simple in nature and not
ornamental but the pictures which were drawn in geometrical pattern were also
considered superb. The portraits were in the form at lozenges, triangles, rectan-
gles, circles, parallelograms and also completely filled along with simple banks,
wavy lines and lupes. The plants and trees, animals and birds which were abound
in nature during ancient period were the object of paintings. The portrait of a fisher-
man with net is seen drawn on the cave wall. The main theme of Sourastrian
117
portrait included animals such as deer and birds such as crain, peacock etc. Be-
sides the portrait of snakes are also seen drawn in ancient days. Pots having
uneven surface were used to be painted with the pictures pertaining to nature. In
the beginning stage reflective paintings were done which is subsequently devel-
oped into naturalism and later stylisation. Natural beauties are seen painted on the
surface of Lothal Pottery. In another painting a deer is seen drawn looking back and
another one standing royally under a tree, a snake a couple of crain twittering, birds
making nest on the branches of trees and birds having tiny fishes in its beaks etc
A Tibettan native Tharanad visited India in 1608 A.D. in connection with learn-
sively and the study comprised of various stages commencing from the very begin-
ning of Indian portrait to his contemporary period. Though he stayed only two weeks
in India the details he collected were highly comprehensive and perfect. Various
literary works indicate the growth of Indian portrait form the second century B.C.
The art of portrait was depended upon for religious propaganda by which the former
was enormously encouraged. But for on religious ground the art was only for enter-
tainment. The ancient portrait which are still in existence pertaining to Ajanta caves.
The ancient art of portrait was made friendly by the Buddhist for their religious propa-
ganda and we have adequated proof to come out that the Hindu religion was also
The ancient Buddhist art can be classified into Deva style, Yaksa style and
Naga style. In between fifth and third century B.C. Deva style had existed in Bihar
and Yaksha style was progressive in 3rd century B.C. and Naga style in 3rd century
A.D. In later stages this significance of the art of portrait got weekend and finally
came to an extinct. In A.D. 5th and 6th century the Devas style was popularly in
progress in the name of the school of Bimbisara. In 7th century Sringadhara and
his disciples had caused for the renaissance of Yaksha style in Rajaputana. Also
the Bengali such as Dhiman and Bitpalo made their contribution for the renaissance
of Naga style. In those days the theme of portrait included supernatural creations
or the creations which have been blessed in Deva and Yaksha Style. This shows
The golden age of Indian portrait is started with Ajanta's art. The old remains
of some of the real pictures are seen completely spoiled in Ajanta caves. We have
got some clues from various literary works which indicate the development of the
art of portrait. A magnificent heritage can be claimed for a long period prior to Ajantan
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Art. In Divyavadana the artist belonging to tlie palace of Bimbisara had drawn a
Japanees. We have got some proof to the effect that Budda religion had depended
on various arts for religious propaganda. The learning of Patanjali revealed that the
art of portrait was enormously used to teach various religious doctrines to their
followers. The saint Patanjali^ has subjected the art of portrait to elucidate Krisna
Carltam & Kamsavadha. The pictures seen on the cave walls of Ajanta represents
culture. We have got some proofs to substantiate this fact. A Budda religious
literary work which was supposed to be written in 2nd or 3rd century B.C. gives us
some details to the effect that the king Pascnada had constructed a number of
palaces for entertainment with beautiful paintings and sculptures in each palace.
The epic Ramayana says as about some chambers which are painted with beauti-
ful pictures. The king Prasenajit had protected the houses for portraits. In the
drama Uttararamacarita^, Srirama & Sita are said to have visited the houses of
portraits where their own portraits had been painted Narada Silpashastra^
are to be kept in fact and the classification of this chambers etc. Usinara says that
the houses of portraits are to be located in the central portion of main street of the
town or where the street ends. In ancient time houses of portraits are supposed to
be inexistence. Apart from permanent art galleries there were travelling exhibition
halls, water pavilions (Jalamandapa) had existed in forts and interiors places of the
places. In all these places the art at portraits were in full swing.
The carved ivory panels which are supposed to be pertaining to the first cen-
tury A.D., had been found our begrom of Afghanisthan. The houses of rich commu-
nities had been beautifully painted using mixture of paints. The object which were
recognisable by human sensation were painted. In Ajanta too the same objects are
A.D. all the city inhabitants except uncivilized people were able to paint. In
Mruchakatika of Sudraka belonging to 4th Century A.D. there are indications about
the clay cart and the exposition of art exhibitions. In a jaina literary work, Brhat
Kalpa Suthra Bhashya belonging to 6th or 7th century A.D., a»story is narrated
about saint like. In that story, a palace female servant is also narrated. She had a
collection of portraits were by she was able to understand the various tempera-
ments of different people. She used to exhibit her collection of pictures. From the
reflective moods of the viewers their character, nature, their interesting arts etc can
be measured in this way. The cooperative movements of Hindu and Budda reli-
gions detained the progress of the art of portrait. The villagers as well as the rich
society were influenced by this art to a large extend. Banabatta who lived is 7th
century A.D. upholds that in the palace walls and around garden of the Emperor Sri
Harsa, beautiful portrait had been painted. The artist who had done painting in the
public places such as markets, cities etc. had been collected round by children. In
another painting the portrait of an artist with brush in his left hand, pointing to Yama
who sits on the buffalo in the hell is seen painted. In the well known political drama,
Mudraraksasa\ Chanakya finds out a ring while a painter with a picture roll in his
AFGHANISTAHAN PAINTINGS'
The art of portrait took a prominent part in the growth of Budda Religions. This
art migrated to many countries along with the spreading of the religion to other coun-
tries such as, Afghanisthan, Srilanka, China, Japan etc. Trade and political rela-
tions, various invasions between the cultural unifications etc lead to the emergence
Bamuyan, situated in between Peshawar and Ball<sh Patha was a popular trade
centre in those days. Large number of portraits are seen in the caves which are
faced to the valley. The caves are dug in the shape of cliff face and are seen like
halfmoon. When compared to Ajantan caves, these caves are more deep and broad.
All the paintings are seen either on the walls or in the inner Chambers. The surface
is uneven and vertical cliff. Here two colossal statues of Sri Budda are seen erected.
The paintings here are supposed to be done either prior to 3rd century or after 6th
century. The remaining found out in these caves are supposed to be the oldest
remaining ever found out in this continent. The paintings include Budda who sits
among his discpies with Veercakramudra, the flying Apsaras, and various articles
for rituals. More these paintings can not be treated as superb in beauty, the claim
Indian inheritance. The paintings include females with long and beautiful lotus eye
and eyebrows, large hands, and fingers. They indeed represent the Indian por-
traits. The face of males, their hair, cloth adornments etc hold resemblance with
Indian way of paintings. The inheritance of Fundoykistan Art found out from Bamiyan
SRILANKA PAINTINGS'
The Pak straits separates India from Srilanka. The remains of the palace built
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near Ananthapura during the reign of the Mahavamsa King, Dutta Gamani in the
second century B.C., was found out in the fifth century A.D. The portraits of Swan
(Hamsa) and animals are found out from Versantaya Jatka - though there pictures
are partly reviewed, we get some knowledge about the Budha religious way of mak-
ing portraits, we have got some evidences to come out that the frescoes were
drawn under the command of Kasyapa. He built a notable gallery on the palace
walls and the gallery was known as Lion Rock. In two different places in this gallery,
frescoes are seen. Besides 20 figures of females who lived in palaces are also
seen. The figures may represent royal ladies and their maid servants. They pick
out flowers when the flowers are showered like rain. These paintings are similar to
Ajantan paintings. Though the paintings were done in religious pursuit, the impact of
the same spreaded to the nearby countries and developed in this reliance of even
remarkably obvious in those days. Earth red, Yellow, Copper blue. Spectrum in
place of blue saffair etc were used. Ornaments were enormously used. Ornamen-
tal cloths were beautifully worn by the people. Female figures were seen bent front-
ward due to the weight of breast. Beautiful flowers were held in between long fin-
gers of the formal figures. The walls which are pasted with graffiti claim the oldage
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of 8th century. To many males, there beautiful females were fatless. These figures
are seen crying and standing with begging eyes. One might think that they are
In the rock paintings of Hindajala, which belongs to 7th century the paintings of
Versantara Jataka, Maitribala Jataka etc are seen and in the northern temple of
Polonnaruva built by Parakramabahu the same paintings are seen. Though bor-
rowed from neighbouring countries, the hereditary arts have been subjected to
CHrNA PAINTINGS^
In former days India and China had trade relations as a result of which Budda
reach China. Since the reign of Yue-Che dynasty on the eastern part of China
during second century Indians had visited China for the further 10 centuries. There
were a number of sea routes and passages to connect these two countries. In this
way art and culture of both these countries got unified to a certain extent. Gunavarma
had painted a Jathaka seen at Canton in China where a number of other animal
paintings had existed in different stages of time. In a ruined temple at Miran, Versantara
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Jataka is seen painted at the interior part of the Altar and this is considered as
belonging to 7th or 8th century seen in Dandan Viliq, beautiful lady, half naked and a
naked boy are seen in the fresco in a lotus pond. Besides the triple headed God
Siva is seen sitting on a set of bullocks. In Kucha region, another painting visualise
some birds quenching their thirst, drinking drops of water available from the clouds.
Lightning in the shape of snakes are seen painted. In the mural painting at Chortchut
we can see the painting of Sidhartha who got enlightenment. The great kings be-
longing to Wei, Sui, Tang dynasties, got a number of caves dug into different cen-
tres. Tun Huang made hundreds of caves at Kansu from all these places, we had
received a large of number details of painting in the year 1906. The paintings seen
in China and Central Asia are precise and exact in nature and they externally hu-
JAPAN PAINTINGS^
Asa homage to the past, the prince Umaiyado is known as the Saint of Sanctity
founded here are believed to be either brought from Korea & China or painted by the
artists of Japan itself. The paintings included a group of Goddesses, the saint Sakya,
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Amitabha Bajsajya Guru, Rathna Sambava all are the disciples of Sribudda. The
golden Crown adorned with flowers, garlands, braselet on the shoulders etc found
among the paintings indicate Ajanthan model paintings. The beautiful parts of body
indicates the reincarnation of Ajantan beauty. Apart from beauty this paintings are
In Mandala painting. Lichen with ten helpers and Mantrayana Sutra are found.
In one painting we see Buda, Bodhisatva, Siva belonging to Hindu devas, Visnu,
Brahma Ganapati, Uma Saraswathy etc. All this paintings have been enormously
INDIAN PAINTINGS
In Ajanta we can see seven caves each having 60 sq.ft. area. The ancient
paintings of Ajanta is believed to have been taken place around BC 200 after the
decline of Mourya dynasty. By this time Satavahanas had become strong powers
here. We have got some proof to the effect that the paintings of Ajantha pertains to
remains of a golden era. The Ajantan caves were discovered by a retired British
Army Captain in the year 1819 while he went out for hunting to the near by forest of
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the State of Maharashtra. These caves must have been utilised by the Budda monks
for meditation. Not only on the wall but also in the chambers and even on the pillars
the paintings have been effected. Two kinds of caves are seen here. The first being
in the same distance having pillars that continues round apace to form an ambula-
tory model Chaitya. The material remains of Sribuda and his disciples are kept in
one of the caves. The other caves are used for residential purposes with common
courtyard and tiny chambers there around where in nearly 300 Buddha monks could
live comfortably.
The Ajantan paintings could not been treated as real fresco. The paintings were
on the surface of the wall, smeared with Calcium Carbonate and the paintings were
devoid of any strong colours but as far as fresco paintings are concerned the col-
ours are to be mixed when the calcium cariDonate is wet. But in Ajanta paintings are
seen done on the dry surface of Calcium Carbonate. The white calcium is smeared
on the rough surface and paintings are done using clay dust and red-stone dust.
The calcium is smeared on the surface very thinly using 'Kumaya-karamty". The
smooth surface like ivory is prepared for painting using red, yellow dust the green
sap of leaves, madder and blue colours. The colours are fastened with the surface
using gum obtained from vegetable plants. The lapis Lasuli which had been used by
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the European artists till recent time was discovered from tlie banks of the river
Oxus and there are certain proofs to the effect that the Lapis Lasuli had been used
ancient Indian paintings are concerned. Infact this era is the golden period which
destined the technical growth of parabolic curve. The documents pertaining to the
last stages of this era have become shabby and blurred which seem to be an exter-
nal impression of the paintings of Ellora caves. The main theme of the paintings
were either the concepts relating to the life of Budda or the indications relating to
ephant and in the last stages the real life of Siddartha is illustrated the colour and
portraits painted In Ajanta caves include the legentary figures of history as well as
the figures of some fabricated stories. Moreover the animals, bushes, vegetables
etc are seen painted significance has been assigned to the adornments of various
ornaments of ladies and the transparent traditional life they lead during those days.
The princess as well as the noble ladies had worn transparent Muslin clothes and
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the middle class ladies had won clothes with flowers on it. The maid servants had
worn the same type of clothes during those days. They wore light Kancuka and
adorned blouse on it. They wore another dress exposing the waist and a shirt or a
The diversification of human beings in those days are also significant. The
paintings reveal the king who sits in his throat inside the palace chamber and chafing
with his wife often getting angry with her, doing his kindly duties towards his subject.
One of the palace guards is seen carrying another guard in a swing in a music
entertainment. Different musical instruments such as flutes, drums, conch etc are
used. The paintings include Jokers, Magicians strangely robed foreigners, snake
catchers etc are seen. A group of people who carry swing and some cruel huge
fellows, with ash coloured hairs holding knives in their hods are seen painted on the
Ajantan caves. The ghandarvas who are believed to be diving in the sky. Yaksas,
Yaksis etc flying in the sky blessing others are also painted.
The paintings include some portraits of jokes. Two friends are sitting with alco-
holic pots places near by them of which one appears to be a foreigner who had worn
socks and trousers and a scarf around his neck and a hat made of silk. When the
foreigner offers a cap of alcohol to his friend that man pulls the others chin. In
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another painting two dwarfs with large belly show some gestures and a third man
retorts with Insultation. Another figure appears to be an angel with joke and clem-
ency on its face. They had worn socks and a short cloth around its waist.
An awareness which was not in any were related with the story of Budda had
existed in the imaginations of the artist who lived during those days, is brought to us
BAGH PAINTINGS
Painting are seen in nine cave of The Vindhya mountains near Gwalior. These
caves are seen on the bank of Bagh a subriver of the river Narmada and they lie in
the steep valley of the river. We do not get any precise knowledge or informations
with regard to the period during when these caves were constructed for the reason
that the rock of the caves are very weak. The Mahayana thought of the Buddha
made with in a short span of time by way of an uninterrupted act. The main theme of
the painting is the story of a coronation. In the royal procession there were election
the warriors who mounted on the horse back etc. Large number of crowds standing
on their portico are seen painted visualising the procession that passes through the
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royal street and answer, who is confined to a ring, do frok dances. A group of
people make discussion on religious aspects. Some angels are seen painted flying
in the sky. All this painting represents a festival season. A morning lady is con-
soled by another lady and whose failure in doing so has become the theme of paint-
ing. The transcissions of tears and smiles emerged from the life problems are also
made subject to the theme of paintings. (The females who has worn tiny clothes
without covering the breasts). The lady musicians whose nakedness on the waist
is exposed though they had wcvn a small piene of cloth are also seen among the
paintings. Noble men belonging to the society had worn broad hat. The figures
wearing braselets galets earrings, hand rings etc are seen painted. Some ladies
have worn chains with pearls and indranila. Huge elephants noble horses, bul-
locks, doves etc are the subjects of paintings. Though they had the chains of rocks
the land portions were rare. We can see in the paintings the falling of flower buds to
the springs which are collected by some flying figures. A lady musician has adorned
The mural painting claims a magnificent heritage that has been spreaded all
over India. The history of mural paintings lies in the paintings pertaints to Orrisa,
Jaina etc. The growth of history can be visualized under different cultures.
Though the people belonging to high class society adopted the art and litera-
ture as the means to suppress the weaker people of the Society, the art of literature
was encouraged. We can see political and religious transcissions with regard to the
history of painting. To satisfy the rulers the artists combited among themselves the
influence of the art of portrait can be visualized in the religions like Budda, Hindu,
Jaina, Vaisnava, Jaina etc. Among this the influence of Hindu relegion was pre-
dominating. Most of the Hindu temple had been adorned with beautiful paintings.
Such temples are increasingly seen in South India. The different dynasties in South
India compited among themselves of Supremacy which often lead to mighty con-
flicts. At time when welfare and tranquillity were in existence the art of mural paint-
ORISSA PAINTINGS'
When we closely examine the remains, we find that the caves Udayagiri and
Khandagiri found in Orrissa are suppose to be built by Kharavela and his sons. The
According to hereditary believe Srirama and Site had been residing here during
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when they lived in the forest. Ravanachaya is a residential cave built on a rock.
This is found to be built in the shape of a half open sunshade, using two round rock-
stones. One stone is built in the form of altitude wall and the other is linean. This
cave is built as a chamber and paintings are seen inside this chamber. The painted
surface being very thin the pigment got loosened. Due to moisture, wind and rainfall
and by the attack of some flies the portraits are seen ruined. In this painting four
colours are seen used\ They are white, ash, light yellow, dark yellow, light red and
dark red. The theme of the painting is the royal procession on this rock the words
sitting on the elephant followed by soldiers, another soldier on the horse back, a
maid servant and on the back a servant holding a royal umbrella in his left hand are
seen painted. In this the made sen/ant is in Ajantan style and the rest in Bagh style.
It was seen that all the people in the gathering is bedding fonn/ard resembling that it
was moving. Depending on the style of painting and the art and sculpture it was
concluded that this was during the period of 6th and 8th B.C.
with title Kanci-kaveri is seen painted in the chambers of Jagannatha temple. The
antiquity of the painting goes to the period of Ramanuja the leader of Vaishnava who
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adopt Hindu relegion. These paintings are made subject to renovations from time to
time the reality of the paintings are seen clouded. In another painting the adventure
of Rajapurusotamadeva and his army march to Southern region and his trim on
Naraslmhadeva Saroova of KancI and finally his marriage with the daughter
Roopambika of the conquered wing canbe seen. These pictures are supposed to
be painted in 1490 and later they were renovated in different stages and the shining
CHALUKYAN PAINTINGS
A number of portraits have been found in the Vaisnava caves in Badami. Among
these the painting indicating the marriage of God Siva with Goddess Parvati is con-
sidered to be the best painting. According to a stone script all these paintings were
ing the dance and music in his assembly. Another paintings indicates a king who
sits with his wife. Chalukyan paintings are seen adapted the inheritance of Vagt>aa
of Ajanta. The drawings are nature and colours are excellent where by the shapes
and figures are formed. The cheeks are thin, the legs & hands are painted in a
dance mood that convey some moments: The figures of females are beautifully and
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dess Parvati had worn earrings. The use of ornaments Indicates Ajantan Paintings.
The soldiers are arranged in different rows which represents an excellent organisa-
tion of the army set up. The dance, musician, the king. The queen tribal leader
servants etc are seen painted under different classification which proclates the
naturality and diversification of each class Kanyakas are painted in blue brown col-
ours. The way in which the drawings were deltued and the concave surface on
which the drawing were made. The excellent ability to do drawings etc confirmed
PALLAVA PAINTINGS
The King Mahendra Varma I who ruled over Pallava empire in the 7th century
was deeply interested and showed excellent mastership in literature, culture and
as "The tiger" among the artists^ The temple Joyveae dubreyil of Panamalas and
the temple Kailasnatha of Kancipuram are the excellent examples for the art of
portraits . A figure of a Goddess painted there hods similarity with the paintings of
Ajanta in regard to its waist, legs, sitting etc. A group painting of Siva, Parvathy and
a child Skanda are seen in the remaining pictures of the temple Kailasanatha. Mur-
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muring the hymns of Veda mother embarrasses a goddess child in another painting.
The legends of Krisna is also seen painted. Most of the paintings are in the homely
ears a leaf is pulled down. In the remaining pictures we can see the form of Parvathy
the palm of Siva and the face of a child all these pictures fetch similarity with that of
being painted in Ajanta. Besides an oval shaped king figure with half closed dreamful
eyes, long nose, noble mouth beautiful neck with ornaments etc are among the
paintings.
PANDYAN PAINTINGS:
tionship. The pallava ladies were deeply interested in various arts^ When the Pallava
kings were conquered their culture was also defeated by the Pandya kings. The
interest of Pandya king in cave temple got developed. We have received some
remains of Pandyan paintings from the cave temples. This temple is 12 ft. height
and without any steps to go upward, indications are there to come out that the
chambers, walls, and the roof had been evosed for painting. Facing the constant
wind the painting are partly ruined. A heaven body is painted riding on horrible lion.
From these painting we can understand the ability to paint the mixture of colours and
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the movements of body. In another painting some heroes travel with a group of
ladies. A bear is seen hanging on the shoulder of a hunter. All these pictures may
music group is seen painted one among them reads a drum. His head has turned
towards the dancer and his eyes are seen fixed on his movements.
All the female figures are lean and having more bodies. Their eyes are inten-
sively passionate and their face are of oval shaped Female figures are compara-
tively less comparing to Ajantan paintings the ornaments and clothing are less. Some
females had worn rings. The animals and plants are beautifully painted. The differ-
ent stages of a blossomed lotus is seen painted in the chamber. The paintings are
done on a back ground which is white and blue. The bushes the leaves and the
flower buds have been given undue important in the painting. The colours used
were dark red.red, black, blue and green. The outlines were drawn in red colours
and subsequently drawn in dark. The paintings of Sitanna vassal being seen on a
rock. It may belongs to the creation of Pallavas. All this paintings are supposed to
be made during 9th century according to the indication available from them. Though
the drawing's and colours are perfect, the external of the visions of the figures seem
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RASHTRAKUTA PAINTINGS
The precessors of Lord Srikrisna established their own empire in decan in the
8th century. The famous temple Kailasanatha was built in the 2nd half of 8th century
are the famous temples which are adorned with beautiful paintings. In the chamber
situated on the second floor of Kailasanatha temple contains super paintings. They
are supposed to be painted in 2 stages^ In the 1st stage Vishnu and Laksmi are
seen riding among the clouds sitting on the bird Garuda. These birds are of small
legs, tiny wings, human's face long and sharp nose. Gandharvas and Vidhyadharas
are seen flowing among the clouds. All the pictures are filled with clouds. All the
figures were equistatically and rythematically flowing and they satisfied themselves
in this way. The figures were thin but strong and alert. The structural shape of the
body of the figures were suitable for flowing through the clouds. The 2nd stage of
painting the portrait of lotus was significantly painted. A lotus pond is painted abound
in elephants and fish. The peculiarity of the second stage was the unification of the
processions, Jaiva Godesses. Notable differences are prevailing with regard to the
two stages.
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COLA PAINTINGS
In the 11th century the rule of Cola king brought stragnent especially during the
reign of Raja Raja Chola and Rajendra Cola. When Rajendra Cola built his new
example for the art of painting. A small temple made of stones are found there. The
indication available from the wall paintings make it clear that they belong to the end
of 9th century. In the chamber the figures of Gandharvas and other dancing figures
are seen. Besides in the temple Bhrihudeeswara of Thanjavoor mural paintings are
splendidly seen. In the lower portion of the pew of the main shrine the paintings are
Among the paintings only two numbers are remaining. One is the vision of a court
and the other is the last departure of Sundara. In a large wall having a number of
pillars are crowded by youth, old men, ladies and gentlemen. In the middle Sundara
and an old Brahmin stand face to face. The male members are of strongly built
constitution broad shoulders and chin. Their faces express different psychological
moods. In the departure scene Sundara, the youth, mounting on four white el-
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and both of them crossing a river\ This indicates obstacle of human life. On the left
are seen painted. As a part of entertainment and pandemonium, they use various
musical instruments and let lotus flowers falling down. Besides Lord Siva is seen
painted in different moods. Lord Siva is painted resting in the Kailasam in whose
feet Nandi takes rest. Siva is also seen painted in the form of Nataraja in whose left
hand a fire and a head are also seen. He seems to be in an intoxicated mood. In
another place the slain of Tripurasundara by Siva is seen painted. Holding different
kinds of weapons in eight hands and mounting on a chariot, he fights standing on his
left elbow. Seeing this group the women hang on the shoulders of the warriors,
crying. These ladies are seen half naked on their breasts. Some female figures are
seen on resting mood, others worshipping the God Siva and some other ladies are
seen indulged in homely affairs. For adorning the forehead flowers and pearls are
worn in the shape of halfmoon and stars. Their eyes are long and shinning. Long
nose closed lips are seen painted. They had worn necklaces which incarnate their
beauty. The apsaras (celestial damsels) who have adopted Sivathandava have
Hsen a fantastic mood. The upper portions completely and the lower portions partly
have been painted one by one. The passionate body and the alert steps of the
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figures are also seen painted. The powder of conch and pearls have been used in
the mixture of paints, excellent brightness have been resulted on the paintings. The
colours are plenty such as yellow, earthern colours, red, black, brown, terraverty,
blue etc..
VIJAYANAGARA PAINTINGS
the river Tungabhadra. Krisnadevaraya the mighty ruler who ruled the kingdom in
the early stage of 16th century was a popular ruler. The Sultan of Deccan and the
conspired themselves and attacked Vijayanagara Kingdom and concurred it. They
destroyed the temples and palaces. The remains of Vijayanagara paintings are
These paintings are classified as belonging to two different stages. The 1st stage is
based on the ancient hereditary concepts and the second stage is based on the
middle hereditary concepts. In the 1st stage crowns, ornaments clothing etc are
seen painted but the outlines of the figures are uneven and smooth. They resemble
With the traditions of Ellora. The figures are seen lean and the curves are seen
made smooth on the lateral positions the nose seems to be high and sharp. The
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theme of paintings include the incidents of Jaina religion The paintings in Virupasa
Mahabaratha and Ramayana and the adventures of God Siva are seen among the
seen crowded in another painting Arjuna is seen launching an arrow towards a fish
which is placed on the back of a rotating wheel seeing the shadow of the fish in the
water in a pot. In another the marriage of Srirama and SIta Is seen. Tripurasura is
defeated by Kamadeva in a fight is also seen painted. The paintings of Vira bhadra
swamy temple of Lepashi are believed to be done in the middle of the 16th century.
The theme of the painting is based on the stories of Saiva. Siva is painted in the
form of a teacher and also as the killer of Ajnanasura. The miseries of Goddess
Parvati resulted from Siva's relation with Ganga is remedied by marrying Parvati,
The poet Bharavi has made a poem viz Kiratarjaniyam which has also been made
the theme of paintings. God Siva made Arjuna subject to various experiments and
Anegundi. In one painting a bush is seen blossomed in one side.and a squarrel and
2 females on the other side. A man wearing a crown on his heads rides on a camel
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inf ront of which an elephant runs. A man with long hair and chin sits on the back of
an enchanted elephant where the elephant lieing artificially created by five ladies.
The same man sits on a horse back in front of which another lady holds an umbrella
on the upper portion of the painting the garlents of lotus flowers are seen hanging.
The figures painted in the picture being lean. They are believed to have been painted
during the middle ages. The blossomed bushes and the squarrels represents Ajantan
century. A number of paintings which illustrate the epic story Ramayana is seen in
the front chambers of the port'co. Among the paintings the Ashtadikpalaka (protec-
tors of eight corners of the universe) and their prayers to God Indra for the incarna-
tion of Vishnu is seen painted. The slain of Tataka by young Rama, the breaking of
bows in front of Janaka and Sita etc are among the paintings.
ocean) is seen painted. This paintings believed to represent 12th century. The
pictures must have been painted in the last stages of the glories of Vijayanagara. In
wie place the fighting between Rama and Ravana is unobvously seen. The lateral
faces are obviously sharp and the external lines are made soften.
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NAYAKA PAINTING
Consequent on the Thalikotta war in the year 1565 the Royal families of
Vijayanagara got weakened and the rule of the kingdom was undertaken by
Varghanaralias. The paintings of 17th century must have been made due to the
Srikrishnaleela and in the temple Thiruvalloor a monkey is seen sitting on the Bhilwa
tree and a leaf falling on Sivalaya and receiving to boon of Siva etc are seen among
the paintings. The God Siva gave the monkey a rebirth as a king besides Visnu and
StVa together made experiments regarding the possessiveness of some yogis and
purify their minds. Thus painting is seen in Cidambara. The method of painting
tions. Here, Sehematiasm is largely used. The male members of leapaolish paint-
ings are seen large stomach and the female members with short waist. But in the
paintings of Nayaka the male members are seen with handsome waist and female
rrtfembers are lean and in the shape of hour glass and these figures are very tall.
The lateral views are very excellent and the movements are quite natural. The ex-
ternal lines express the natural flowing of the moving figures.The portraits of Mohini
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and begging are illustrated in a hasty but arranged way of interpretting the incidents.
Jhe paintings which are seen effected from right to left with the art of demonstration
make this painting a peculiar and indentifiable from the other paintings. Sixty paint-
Islgs are seen in the front chamber of the temple of Chengam in Arcot district and
titese paintings are resulted by the encouragement of Nayakas. For the coronation
of SriRama, Laksamana and Indrajit are seen fighting. This may relate to the tamil
R^mayana written by Kamban and may represent 17th century through they can't
Like Hindu and Budda relegion the Jaina relegion has made commendable
cfgntribution to the art of paintings. The temple of Mount Abu, the Gomedeswara
Statue of Sravana Balagola are the best examples of Jaina sculpture and paintings.
LJKewise the portraits belonging to eastern India bring us the Jaina subjects. The
peculiarity of China paintings was the angular metfxxl, but this was not true. The
paintings had been rentered to some transitions when they were able to be taken
olit from the walls and painted on leaves and later on papers. A painting of Indrasabha
fias been received from a Jaina cave temple of Ellora. In a painting belonging to
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t4th century the life of Vardhamanamahavira is seen portraited and this painting is
dom. The paintings of Jaina teachers, the followers of Jaina and the kings have
been found out from various Jaina madoms in Sravanabelagola and all this paint-
ings are believed to be made during 14th century. In this painting beautiful mountain
The inheritance of Indian mural painting claims and antiquity of 2000 years.
process and in the end the pictures got down from the walls and found place in the
p-'lm-leaves and papers. We can see such a magnificent history as far as the art of